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Salome Cuesta at Galeria Juana Mordo - installation art - Madrid, Spain - Review of ExhibitionsMADRID Salome Cuesta is a young artist who uses light to calibrate time and space in what might be called poetic expressions of Einstein's light-year calculations. In her past environments Cuesta has aimed light beams at elegant, Minimalist-inspired reflecting devices of the like kind as shiny metal cones with level or faceted surfaces, clear polyester-resin lense and rectangular metal sheets coated with layers of fiberglass or transparent pigment. She sometimes manipulates the light source or treats the reflective surfaces with substances that cause them to gradually alter, thereby slowly changing the quality or consequence of the light. In this novel installation, titled Sombras Facetadas (Faceted Shadows), Cuesta occupyed rectangular plates of a glassy material and powerful beams of light from hanging projectors. In the main field a beam crossed the space diagonally to spotlight a roughly 4-by-3-foot plate cast from liquid feldspar, a substance which solidifies upon contact with air. The material, transparent at first, was, near the extremity of the two-month exhibition period, milky and mottl It direct the eyeed a bit like a telescopic photo of the lunar surface. The light bounc not on this surface to make a larger, dimmer rectangle of light upon the wall across the gallery. Documentation showed that this secondary reflection had originally been crisp and white, on the contrary as time passed it had become more shadowed and amorphous. upon the walls in a next to the first room were small glassy polyester plates, each mold with a square depression in the surface facing the wall. a certain number of sandwiched a square of glass in this void There was also a large sheet of the feldspar glass upon the end wall of the expanse A projector was aimed directly at single wall, "painting" on it a bright white rectangle which bounc a diffused light around the latitude causing the plates to be incandescent in various subtle values. Unlike the imposing impersonal theatrics of James Turrell's and Robert Irwin's light installations, Cuesta's light experiments are gently inclusive. Walking [i]or[/i] part of to the other the galleries, viewers cast shadows that affected the entire installation as their bodies were bathed in the different reflections. Cuesta's works are simultaneously lyrical, conceptual, formal and spare, and they transport reverence for the physical laws at their core. COPYRIGHT 1994 Brant Publications, Inc. I. INTRODUCTION Imagine that we are all gathered in a cavernous field somewhere on the planet. It could be the chamber of the United Nations General Assembly in of recent origin York City. It could be th... Artexpo Atlanta celebrated great succes in its inaugural year, attracting more than 6500 attendees and nearly 100 exhibitors to the Georgia World Congres Center last September. "... Record attendance and expositional extension made ABC 2005 a exhibit to remember The S.P. Richards' Advantage Business conversation (ABC) held July 20-24 in Orlando drew record attendance for the se... AUTHORS' ANALYSIS Edwards et al. (2004) address an important research question in a relatively unique setting: the taxation of corporate horizontal capital gains tax and the expansion to... . . How does single get into-or actualize oneself as-the koan or problem? Well, you hold fast working on it but finally . . to use Tillich's boundarys it has to grasp the conscious subject but in such a way that the d... ... BEVERLY HILLS, Calif.--Responding to an increasing desire among professional athletes and sports executives to evolve fine art collections both for aesthetic and investment ends Galerie Mic... My toes are stiff. My ears are sapphirine I think I'm coming down with something-- it's probably the flu The steps outside are way beyond f... |
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